Antonio Campos

Antonio Campos

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Simon Killer Review


Good

For a horror film, this is unusually subtle and disturbing, rather than all-out scary, quietly profiling a creepy central character in ways that are designed to provoke the audience. Yes, this sociopath is realistically sinister, but even more challenging is the way filmmaker Campos deliberately manipulates us with his clever filmmaking. Although we wait in vain for the film to deepen into something more meaningful.

It all takes place in Paris, as Simon (Corbet) arrives from America to recover from a messy break-up. A young academic, he has no difficulty chatting intelligently to strangers, but he hires the hooker Victoria (Diop) for more earthly pleasures. Then he decides that isn't enough, and worms his way into her life, making himself indispensable while encouraging her to blackmail her high-profile clients for cash. When this doesn't go as planned, Simon rekindles a romance with another young woman, Marianne (Rosseau), who isn't quite as susceptible to his charms.

Like Patricia Highsmith's iconic Ripley, Simon is a charmer who has no moral centre at all. So we like him from the start and then become increasingly troubled by his twisted actions. And what makes the film even more intriguing is the way it's impossible to tell whether his motivations are villainous or callous. Corbet plays this perfectly, letting us see Simon's darker attitudes (to him, women are little more than sex objects) and pathetic insecurities. Meanwhile, the actresses make the most of their deliberately under-developed characters.

Continue reading: Simon Killer Review

Martha Marcy May Marlene Review


Excellent
With a disturbing tone and skilful filmmaking, this insinuating drama completely unsettles us as it delves into the mental life of its central character. And it has a lot to say about how relationships affect us.

After going missing for two years, Martha (Olsen) phones her sister Lucy (Paulson) for help, then goes to stay with Lucy and her husband Ted (Dancy) in a lakeside house. Martha says she's been living with a boyfriend, but actually she was in a cult-like commune with her friend Zoe (Krause), working a farm under the leadership of the charismatic Patrick (Hawkes). Renamed Marcy May, she was coaxed into sharing everything there, including her body, and now she's not quite sure what's real and what isn't. And also whether she actually got away.

Continue reading: Martha Marcy May Marlene Review

37th Annual Los Angeles Film Critics Association Awards held at the InterContinental hotel - Arrivals

Josh Mond and Antonio Campos - Josh Mond, Antonio Campos, and Sean Durkin Friday 13th January 2012 37th Annual Los Angeles Film Critics Association Awards held at the InterContinental hotel - Arrivals

37th Annual Los Angeles Film Critics Association Awards held at the InterContinental hotel - Arrivals

Antonio Campos Friday 13th January 2012 37th Annual Los Angeles Film Critics Association Awards held at the InterContinental hotel - Arrivals

37th Annual Los Angeles Film Critics Association Awards held at the InterContinental hotel - Arrivals

Josh Mond, Antonio Campos and Elizabeth Olsen - Josh Mond, Antonio Campos, Sean Durkin and Elizabeth Olsen Friday 13th January 2012 37th Annual Los Angeles Film Critics Association Awards held at the InterContinental hotel - Arrivals

Afterschool Review


Good
As indulgent and preachy as his earlier Buy it Now, this drama shows the growing skill of 25-year-old writer-director-editor Campos. It's also packed with important themes that are addressed both artfully and hauntingly.

Rob (Miller) is a sullen sophomore at a New England boarding school, where he's dismissed as a poor kid by his rich classmates. His roommate Dave (White), who deals drugs in his spare time, won't even introduce Rob to the cool kids. When Rob joins the video class, he's teamed with the sparky Amy (Timlin) to make a film about the school. But they inadvertently record the nasty overdose of the school's most popular girls. As everyone's world comes undone, Rob maintains his aloof, awkward perspective, which unnerves the principal (Stuhlbarg).

Continue reading: Afterschool Review

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